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Fiorenzo's authentic works are remarkable for their sense of space and for the expression of that peculiar clear, soft atmosphere which is so marked a feature in the work of
Perugino. But Fiorenzo has an intensity of feeling and a power of expressing character which are far removed from the somewhat
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Perugino. Of the forty-five pictures bearing Fiorenzo's name in the Pinacoteca of Perugia, the eight charming St Bernardino panels are so different from his well-authenticated works, so Florentine in conception and movement, that the Perugian's authorship is very questionable.
303:'s father, sent his son to be the shop drudge of a painter in Perugia, who was not particularly distinguished in his calling, but held the art in great veneration and highly honoured the men who excelled therein. Certain it is that the early works both of Perugino and of
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The list of some fifty pictures which modern critics have ascribed to
Fiorenzo includes works of such widely varied character that the scholars' suggestions of the masters under whom Fiorenzo is supposed to have studied varies.
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of that city in 1472, in which year he entered into a contract to paint an altarpiece for the church of Santa Maria Nuova, the pentatych of the
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does not even mention
Fiorenzo's name, though he probably refers to him when he says that Cristofano,
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show certain mannerisms which point towards
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Of his birth and death and pupilage nothing is known. Renaissance art biographer
242:(c. 1490) Tempera on panel, 151 x 209 cm Galleria Nazionale dell'Umbria, Perugia
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This article incorporates text from a publication now in the
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Fiorenzo is known from a few signed works, including the
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